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Western Drama in the 19th Century and Its Reception by Chinese People in the Late Qing Dynasty
History十九世纪西方演剧与晚清国人的接受
Sun Bai
The emergence of modern Chinese drama has a very close and direct relationship with the cultural exchanges between Chinese and Western dramas from the late Qing Dynasty to the early Republic of China. However, for a long time, there have been considerable misunderstandings in the academic community about the history of cultural exchanges between Chinese and Western dramas during this period. The main reason is that we have habitually regarded Western drama as a continuous whole and regarded Ibsen-style drama as the only legitimate form of modern drama. Therefore, we have completely failed to pay attention to the basic fact that what the Chinese who visited Europe in the late Qing Dynasty watched and accepted were actually the mainstream dramas of the West in the 19th century, which belonged to a completely different category of theater history that can be called "Victorian drama." The basic goal of this book is to re-examine the drama viewing notes left by Chinese people in the late Qing Dynasty when they visited Europe, and to review this forgotten passage in the history of exchanges between Chinese and Western drama. It can even be said to have been erased intentionally or unintentionally.
The emergence of modern Chinese drama has a very close and direct relationship with the cultural exchanges between Chinese and Western dramas from the late Qing Dynasty to the early Republic of China. However, for a long time, there have been considerable misunderstandings in the academic community about the history of cultural exchanges between Chinese and Western dramas during this period. The main reason is that we have habitually regarded Western drama as a continuous whole and regarded Ibsen-style drama as the only legitimate form of modern drama. Therefore, we have completely failed to pay attention to the basic fact that what the Chinese who visited Europe in the late Qing Dynasty watched and accepted were actually the mainstream dramas of the West in the 19th century, which belonged to a completely different category of theater history that can be called "Victorian drama." The basic goal of this book is to re-examine the drama viewing notes left by Chinese people in the late Qing Dynasty when they visited Europe, and to review this forgotten passage in the history of exchanges between Chinese and Western drama. It can even be said to have been erased intentionally or unintentionally.